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I got my first trumpet when I was six from Al Hirt. My father was playing piano in his band, and as a Christmas present I received a trumpet — a LeBlanc. My father was an example to me, because of the type of integrity he had when he would play.
I also liked the musicians that my father played with. They were always around: James Black the drummer, Nat Perlatt on saxophone. I liked Richard Payne the bass player, the great clarinetist Alvin Batiste. John Fernandez was a great trumpet player and a teacher. And I always liked to hang at the gigs and listen to them play and see what was going on. Also, for that whole generation of Southern musicians — like my father, like Alvin Batiste — playing the music was a stab against segregation.
It was a matter of their identity, of their high-minded nature and of them as men. In their own way, it was a sign of protest against the environment they grew up in. Not just in terms of segregation of whites, because black people were also apathetic toward what they were playing.
So they had certain defiance in their personality that I always could gravitate toward in life. My mama stayed on us about practicing.